Lars Von Trier Despite the enormous variety in terms of nationalities, themes and processes, the musical film is a time full of atavistic, where display only the positive aspects and aspirations of most people. Saccharine happy endings and developments have been constant since its inception in the thirties to the most recent attempts. It is no coincidence that so many people hate him.
One can see a musical and seems to have seen them all. However, in 2000, appeared "Dancer in the dark "(or" Dancing in the Dark ") and broke with any preconceived scheme of gender. This is an incredibly depressing and heartbreaking dramatic contrast to the optimism shown in the seventy years prior.
The movie has some features that immediately collide with the principles of the director, whose dogma s have required eliminating secondary actions, including, paradoxically, the music. But this time, makes the appropriate remedy to elevate the absurd and infinitely separate the poles of hope and the reality of every day. Viewed superficially, the choreography, songs, used representations and desires are ridiculous but at greater depth, are poetry in motion, poetry perhaps cursed. It is, in short, a story that uses the intermediate oil and musical paraphernalia to disguise childish barbarism that pervades any loophole.
The director is sparing in the use of resources (had to be Scandinavian). The picture is rough and blurred, the assembly work or post-production are scarce. But this minimalism, unprofessional say the bold, just in order to saturate the atmosphere of blatant realism, realism that allows us to observe the actions with astonishing intimacy, as if they were buffoons front of us.
Some might say that Lars Von Trier exaggerates the goodness of the female character, played by the alternative music diva Björk, which is nothing more than a Caucasian version of "We the poor", where the fate exorbitantly rages against dispossessed, or tries to blackmail the viewer with recourse to vulgarity and probably all that and more is true. The argument would be no different to many fiascos television or film, but the prodigious performance of the players makes it easy to criticize aspects pass background, to a place unseen, and you just stared raptly bereavement praising the director for making the film that way.
Basically, the entire film is an irony. We talked about realism when Selma, the protagonist, has profound hallucinations while singing and dancing in a parallel universe, or that the plot is a bit inconsistent, but is solid on the masterful direction. But beyond these details, "Dancing in the Dark" is a parody of the genre, represents a sublimation of something that until then was only a mediocre product and whose artistic quality was more than questionable. Lars Von Trier musical film projecting reconstructed to places where we did not know he could be.
One can see a musical and seems to have seen them all. However, in 2000, appeared "Dancer in the dark "(or" Dancing in the Dark ") and broke with any preconceived scheme of gender. This is an incredibly depressing and heartbreaking dramatic contrast to the optimism shown in the seventy years prior.
The movie has some features that immediately collide with the principles of the director, whose dogma s have required eliminating secondary actions, including, paradoxically, the music. But this time, makes the appropriate remedy to elevate the absurd and infinitely separate the poles of hope and the reality of every day. Viewed superficially, the choreography, songs, used representations and desires are ridiculous but at greater depth, are poetry in motion, poetry perhaps cursed. It is, in short, a story that uses the intermediate oil and musical paraphernalia to disguise childish barbarism that pervades any loophole.
The director is sparing in the use of resources (had to be Scandinavian). The picture is rough and blurred, the assembly work or post-production are scarce. But this minimalism, unprofessional say the bold, just in order to saturate the atmosphere of blatant realism, realism that allows us to observe the actions with astonishing intimacy, as if they were buffoons front of us.
Some might say that Lars Von Trier exaggerates the goodness of the female character, played by the alternative music diva Björk, which is nothing more than a Caucasian version of "We the poor", where the fate exorbitantly rages against dispossessed, or tries to blackmail the viewer with recourse to vulgarity and probably all that and more is true. The argument would be no different to many fiascos television or film, but the prodigious performance of the players makes it easy to criticize aspects pass background, to a place unseen, and you just stared raptly bereavement praising the director for making the film that way.
Basically, the entire film is an irony. We talked about realism when Selma, the protagonist, has profound hallucinations while singing and dancing in a parallel universe, or that the plot is a bit inconsistent, but is solid on the masterful direction. But beyond these details, "Dancing in the Dark" is a parody of the genre, represents a sublimation of something that until then was only a mediocre product and whose artistic quality was more than questionable. Lars Von Trier musical film projecting reconstructed to places where we did not know he could be.
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